George Lucas’ debut film “THX-1138” (re-released this week in select theaters) is about a man of the same name. In this future, people live in large underground cities, legally obligated to take drugs to repress emotions and are assigned numbers instead of names. There is nothing new in this plot, as Orwell covered much of it in “1984.” But that’s not what is really important.
“THX-1138” is a film that relies almost totally on image and soundtrack. Through these, Lucas demonstrates, even this early in his career, that he is a world builder. In the hands of a lesser filmmaker, the clearly low budget sets and art direction would have come across as fake and unrealistic for our world of the future. But through editing and an amazing sound mix by Walter Murch, you never once question the world as it is presented. It’s also the whitest film you’ll ever see.
Since the plot really isn’t the focus of the film, there isn’t much material for the actors to work with. That doesn’t stop them from delivering solid performances, especially Robert Duvall (“Apocalypse Now”) as THX-1138. If proof is needed that Lucas is purposely after the acting style in Star Wars, it is this movie. “THX” shows that he knows how to direct actors rather well.
Because this film is so visually driven, rather than plot driven, many people will find it confusing. One must pay attention to every sound and detail to explore the depth of the movie. Once the code has been cracked, the statement Lucas is making about where our consumer driven society might be headed becomes even more relevant today then when it was released in 1971.
Like with “Star Wars,” Lucas has made some visual enhancements to the film. Truthfully, they were not entirely necessary. The original version really didn’t need to be touched. It was great as it was. However, the added enhancements do not in any way drain anything from the original feel of the film, but work to enhance it.
Most of the new visuals are just expanded shots, where he digitally expanded the scene from how it was originally shot. Lucas digitally added more extras to make the film’s society larger. Basically, everything added worked to expand the scope of the “THX” world. What is amazing about this is that Lucas achieves a larger scope without compromising the claustrophobic feel of the film. In many scenes the added scope makes it feel more claustrophobic than before.
The only major change to the feel of a scene comes near the end of the film during the climactic chase scene. Lucas added some nice CG shots to enhance the tension of the chase, which, in its original form, would look somewhat silly today. There is not one change that stands out though, as they are integrated so well into the film. For most viewers who may not have had a chance to see the original, most of these changes will not be noticed. That’s how well they blend with what was originally there. No doubt, it will still enrage some of the purists.
But, let’s face it people. It’s not your movie, or my movie; it’s HIS movie. Like with his “Star Wars” films, the creator has the right to change them however he wants and people should just learn to respect and get over it. Raping your childhood, you say? No one bashed Tolkien when he decided to completely rewrite “Riddles in the Dark” in “The Hobbit” to make Gollom consistent with “The Lord of the Rings.” How is that in any way different from what Lucas does?
What is clear though is that this is a much better film then any of the “Star Wars” movies. It reveals a glimpse of what might have been Lucas’ career had he stuck with more experimental avant-garde filmmaking. The fact that the enhancements only add to this masterpiece says that somewhere Lucas must still have this kind of filmmaking in him. I, for one, hope that when his “Star Wars” saga concludes next year, the old-school Lucas returns in full force. No more popcorn films, please! Make us have to think about your work once again, Mr. Lucas.
Rating: A
